The melody of Misterioso sounded like a beginning piano student's exercise built on non-swinging 8th notes-anti-swing, if you will. Misterioso: traditional 12-bar blues with a far from traditional bluesy melody or rhythmic feel. The "B" melody was very similar to the "A" melodies, but played higher in the scale with variation, and was the basis for the title of the tune, Criss-Cross. To create even more unevenness in the phrasing, Monk's harmonies followed the accents of the melody more so than bar lines, resulting in a challenging situation for improvising. To create a sense of odd phrasing and jarring rhythm juxtaposition, Monk purposely interjected unusually placed accents into the composed melody to create musical tension. Criss-Cross: composed over a standard 32-bar A-A-B-A structure( based on 4 equal 8 bar phrases), although the phrasing of the "head" or melody certainly didn't reflect that. Now considered to be one of his best works. It was a blow to his ego and self-esteem when the project was deemed a financial and critical failure-a blow from which Parker never really recovered. Just friends: Jazz audiences and critics complained that Parker was selling out and commercializing his music, while pop audiences were more interested in the crooning vocals of Sinatra and others, not in jazzy instrumentals-especially bop-inspired instrumentals. very short melodic fragment having nothing to do with the pop song, while the improvised solos were based on the form and harmony of Cherokee. What Roach was inventing in the mid-1940s is commonplace today in both jazz and rock drumming. Roach revolutionized drum set playing with his tremendous technique involving four-way independence between his two hands and two feet-4-part polyrhythms using the snare drum, bass drum, hi-hat cymbals, crash cymbals, and tom toms. Koko:featured a dazzling, but highly complex and syncopated drum solo by Max Roach. Orbits: faster than the others,The abstract, non-lyrical melody of Orbits was divided roughly into two parts, with the first half played in and out of tempo and the second half comprised of a swinging repeated riff, which also served as a musical cue played by each soloist at the end of their respective improvisations. improvised over two choruses of the form, or 64 bars total-with the exception of the piano's one chorus improvisation. ![]() The "A" sections were based on D Dorian while the single "B" section moved up one half step to E-flat Dorian. ![]() ![]() So what:starts with piano,slower, So What was built around two modes, using the traditional A-A-B-A 32-bar song structure. Summertime falls neatly into the category of Third Stream music: the fusion of classical opera and jazz. ![]() Miles used the Harmon mute to give his solo more of a distant, exotic sound. summertime:Summertime is not a 12-bar blues, it uses blues harmonies and the melody line is based on the blues scale. Round Midnight: Softer,high pitched,piano at parts,drums,Notice how drummer Philly Joe Jones used soft brushes behind Davis's solo, while switching to louder drum sticks during Coltrane's improvisation in order to create more rhythmic energy. use of complex chords,cross-section voicing,composed counterpoint,tonal textures (french horn,tuba) The music was more subdued and the tone qualities of the instruments were not as rough or as brassy. provides a clear example of what would soon be labeled as cool jazz.
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